She also interviewed Cudjoe Kazzola Lewis, of Africatown, Alabama, who was the last known survivor of the enslaved Africans carried aboard Clotilda, an illegal slave ship that had entered the US in 1860, and thus the last known person to have been transported in the Transatlantic slave trade.
In 1887, it was one of the first all-black towns incorporated in the United States.
Zora Neale Hurston (January 7, 1891 – January 28, 1960) was an American author, anthropologist, and filmmaker.
She was born in Notasulga, Alabama, on January 7, 1891, where her father grew up and her paternal grandfather was the preacher of a Baptist church.
Hurston was born in 1891, not 1901. After Hurston died, her papers were ordered to be burned.
She also wrote more than 50 short stories, plays, and essays. Hurston was born in Notasulga, Alabama, and moved with her family to Eatonville, Florida, in 1894.
A few years later, her father was elected as mayor of the town in 1897.
In 1901, some northern schoolteachers had visited Eatonville and given Hurston several books that opened her mind to literature.
At this time, apparently to qualify for a free high-school education, the 26-year-old Hurston began claiming 1901 as her year of birth.
Walker commissioned a gray marker inscribed with "ZORA NEALE HURSTON / A GENIUS OF THE SOUTH / NOVELIST FOLKLORIST / ANTHROPOLOGIST / 1901–1960." The line "a genius of the south" is from Jean Toomer's poem, Georgia Dusk, which appears in his book Cane.
Hurston was born in 1891, not 1901. After Hurston died, her papers were ordered to be burned.
In 1902 he was called to serve as minister of its largest church, Macedonia Missionary Baptist. As an adult, Hurston often used Eatonville as a setting in her stories—it was a place where African Americans could live as they desired, independent of white society.
Hurston lived for the rest of her childhood in Eatonville and described the experience of growing up there in her 1928 essay, "How It Feels To Be Colored Me". Hurston's mother died in 1904, and her father subsequently married Mattie Moge in 1905.
Hurston lived for the rest of her childhood in Eatonville and described the experience of growing up there in her 1928 essay, "How It Feels To Be Colored Me". Hurston's mother died in 1904, and her father subsequently married Mattie Moge in 1905.
Hemenway, this piece largely plagiarized the work of Emma Langdon Roche, an Alabama writer who wrote about Lewis in a 1914 book.
They eventually stopped paying her tuition and she was dismissed. ===Work and study=== In 1916, Hurston was employed as a maid by the lead singer of the Gilbert & Sullivan theatrical company. In 1917, she resumed her formal education, attending Morgan College, the high school division of Morgan State University, a [black college] in Baltimore, Maryland.
They eventually stopped paying her tuition and she was dismissed. ===Work and study=== In 1916, Hurston was employed as a maid by the lead singer of the Gilbert & Sullivan theatrical company. In 1917, she resumed her formal education, attending Morgan College, the high school division of Morgan State University, a [black college] in Baltimore, Maryland.
She graduated from the high school of Morgan State University in 1918. ===College and slightly after=== When she was in College, she was introduced to viewing life through an anthropological lens away from Eatonville.
In 1918, Hurston began her studies at Howard University, a [black college] in Washington, DC.
Hurston's manuscript Every Tongue Got to Confess, a collection of folktales gathered in the 1920s, was published posthumously in 2001 after being discovered in the Smithsonian archives.
She took courses in Spanish, English, Greek, and public speaking and earned an associate degree in 1920.
Living in Harlem in the 1920s, Hurston had befriended poets Langston Hughes and Countee Cullen, among several other writers.
Jackson (2000) argues that Hurston's meditation on abjection, waste, and the construction of class and gender identities among poor whites reflects the eugenics discourses of the 1920s. In 1952, Hurston was assigned by the Pittsburgh Courier to cover the small-town murder trial of Ruby McCollum, the prosperous black wife of the local bolita racketeer, who had killed a racist white doctor.
In 1921, she wrote a short story, "John Redding Goes to Sea", which qualified her to become a member of Alain Locke's literary club, The Stylus. Hurston left Howard in 1924, and in 1925 was offered a scholarship by Barnard trustee Annie Nathan Meyer to Barnard College of Columbia University, a women's college, where she was the sole black student.
In 1921, she wrote a short story, "John Redding Goes to Sea", which qualified her to become a member of Alain Locke's literary club, The Stylus. Hurston left Howard in 1924, and in 1925 was offered a scholarship by Barnard trustee Annie Nathan Meyer to Barnard College of Columbia University, a women's college, where she was the sole black student.
In 1921, she wrote a short story, "John Redding Goes to Sea", which qualified her to become a member of Alain Locke's literary club, The Stylus. Hurston left Howard in 1924, and in 1925 was offered a scholarship by Barnard trustee Annie Nathan Meyer to Barnard College of Columbia University, a women's college, where she was the sole black student.
In 1979, Stetson Kennedy of Jacksonville, who knew Hurston through his work with the Federal Writers Project, added additional papers (Zora Neale Hurston Papers, University of Florida Smathers Libraries, August 2008). ==Literary career== ===1920s=== When Hurston arrived in New York City in 1925, the Harlem Renaissance was at its zenith, and she soon became one of the writers at its center.
In 1926, a group of young black writers including Hurston, Langston Hughes, and Wallace Thurman, calling themselves the Niggerati, produced a literary magazine called Fire!! that featured many of the young artists and writers of the Harlem Renaissance. In 1927, Hurston traveled to the Deep South to collect African-American folk tales.
Mason supported Hurston's travel to the South for research from 1927 to 1932, with a stipend of $200 per month.
Around this time, Hurston also had a few early literary successes, including placing in short-story and playwriting contests in A Journal of Negro Life, published by the National Urban League. ===Marriages=== In 1927, Hurston married Herbert Sheen, a jazz musician and a former teacher at Howard; he later became a physician.
In 1926, a group of young black writers including Hurston, Langston Hughes, and Wallace Thurman, calling themselves the Niggerati, produced a literary magazine called Fire!! that featured many of the young artists and writers of the Harlem Renaissance. In 1927, Hurston traveled to the Deep South to collect African-American folk tales.
Hurston lived for the rest of her childhood in Eatonville and described the experience of growing up there in her 1928 essay, "How It Feels To Be Colored Me". Hurston's mother died in 1904, and her father subsequently married Mattie Moge in 1905.
in anthropology in 1928, when she was 37. Hurston had met Charlotte Osgood Mason, a philanthropist and literary patron, who became interested in her work and career.
Based on her work in the South, sponsored from 1928 to 1932 by Charlotte Osgood Mason, a wealthy philanthropist, Hurston wrote Mules and Men in 1935.
Hurston's Negro Folk-tales from the Gulf States was published posthumously in 2001 as Every Tongue Got to Confess. In 1928, Hurston returned to Alabama with additional resources; she conducted more interviews with Lewis, took photographs of him and others in the community, and recorded the only known film footage of him – an African who had been trafficked to the United States through the slave trade.
That marriage, too, lasted less than a year. Hurston twice lived in a cottage in Eau Gallie, Florida: in 1929 and again in 1951. ===Patron support=== When foundation grants ended during the Great Depression, Hurston and her friend Langston Hughes both relied on the patronage of philanthropist Charlotte Osgood Mason, a white literary patron.
"Barracoon", or barracks in Spanish, is where captured Africans were temporarily imprisoned before being shipped abroad. In 1929, Hurston moved to Eau Gallie, Florida, where she wrote Mules and Men.
During the 1930s, Hurston was a resident of Westfield, New Jersey, a suburb of New York, where her friend Hughes was among her neighbors. ===Academic institutions=== In 1934, Hurston established a school of dramatic arts "based on pure Negro expression" at Bethune-Cookman University (at the time, Bethune-Cookman College), a historically black college in Daytona Beach, Florida.
In 1930, she collaborated with Langston Hughes on Mule Bone: A Comedy of Negro Life, a play that they never staged.
No producers wanted to move forward with a full run of the show. During the 1930s, Zora Neale Hurston produced two other musical revues, From Sun to Sun, which was a revised adaptation of The Great Day, and Singing Steel.
Hurston had a strong belief that folklore should be dramatized. Hurston's first three novels were published in the 1930s: Jonah's Gourd Vine (1934); Their Eyes Were Watching God (1937), written during her fieldwork in Haiti and considered her masterwork; and Moses, Man of the Mountain (1939). In 1937, Hurston was awarded a Guggenheim Fellowship to conduct ethnographic research in Jamaica and Haiti.
Critics have since praised her skillful use of idiomatic speech. During the 1930s and 1940s, when her work was published, the pre-eminent African-American author was Richard Wright, a former communist.
magazine, reviving interest in Hurston's work. In 1991, Mule Bone: A Comedy of Negro Life, a 1930 play by Langston Hughes and Hurston, was first staged; it was staged in New York City by the Lincoln Center Theater. In 1994, Hurston was inducted into the National Women's Hall of Fame. In 2002, scholar Molefi Kete Asante listed Zora Neale Hurston on his list of 100 Greatest African Americans. Barnard College dedicated its 2003 Virginia C.
She disagreed with the philosophies (including Communism and the New Deal) supported by many of her colleagues in the Harlem Renaissance, such as Langston Hughes, who was in the 1930s a supporter of the Soviet Union and praised it in several of his poems.
Their marriage ended in 1931.
Based on this material, she wrote a manuscript, Barracoon, completing it in 1931.
Mason supported Hurston's travel to the South for research from 1927 to 1932, with a stipend of $200 per month.
Based on her work in the South, sponsored from 1928 to 1932 by Charlotte Osgood Mason, a wealthy philanthropist, Hurston wrote Mules and Men in 1935.
Her folk revue, The Great Day, featured authentic African song and dance, and premiered at the John Golden Theatre in New York in January 1932.
During the 1930s, Hurston was a resident of Westfield, New Jersey, a suburb of New York, where her friend Hughes was among her neighbors. ===Academic institutions=== In 1934, Hurston established a school of dramatic arts "based on pure Negro expression" at Bethune-Cookman University (at the time, Bethune-Cookman College), a historically black college in Daytona Beach, Florida.
In 1935, Hurston was involved with Percy Punter, a graduate student at Columbia University.
Based on her work in the South, sponsored from 1928 to 1932 by Charlotte Osgood Mason, a wealthy philanthropist, Hurston wrote Mules and Men in 1935.
Hurston drew from this material as well in the fictional treatment she developed for her novels such as Jonah's Gourd Vine (1934). In 1935, Hurston traveled to Georgia and Florida with Alan Lomax and Mary Elizabeth Barnicle for research on African American song traditions and their relationship to slave and African antecedent music.
It was published in 1935. ===1930s=== By the mid-1930s, Hurston had published several short stories and the critically acclaimed Mules and Men (1935), a groundbreaking work of "literary anthropology" documenting African-American folklore from timber camps in North Florida.
Wall, ed.; Library of America, 1995) Every Tongue Got to Confess: Negro Folk-tales from the Gulf States (2001) Zora Neale Hurston: A Life in Letters, collected and edited by Carla Kaplan (2003) Collected Plays (2008) The Story of the Last "Black Cargo" (2018) Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance (2020) ==Film, television, and radio== In 1935 and 1936, Zora Neale Hurston shot documentary footage as part of her fieldwork in Florida and Haiti.
She was tasked with selecting the geographic areas and contacting the research subjects. In 1936 and 1937, Hurston traveled to Jamaica and Haiti for research, with support from the Guggenheim Foundation.
Wall, ed.; Library of America, 1995) Every Tongue Got to Confess: Negro Folk-tales from the Gulf States (2001) Zora Neale Hurston: A Life in Letters, collected and edited by Carla Kaplan (2003) Collected Plays (2008) The Story of the Last "Black Cargo" (2018) Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance (2020) ==Film, television, and radio== In 1935 and 1936, Zora Neale Hurston shot documentary footage as part of her fieldwork in Florida and Haiti.
The most popular of her four novels is Their Eyes Were Watching God, published in 1937.
She was tasked with selecting the geographic areas and contacting the research subjects. In 1936 and 1937, Hurston traveled to Jamaica and Haiti for research, with support from the Guggenheim Foundation.
Hurston had a strong belief that folklore should be dramatized. Hurston's first three novels were published in the 1930s: Jonah's Gourd Vine (1934); Their Eyes Were Watching God (1937), written during her fieldwork in Haiti and considered her masterwork; and Moses, Man of the Mountain (1939). In 1937, Hurston was awarded a Guggenheim Fellowship to conduct ethnographic research in Jamaica and Haiti.
She drew from this research for her anthropological work, Tell My Horse (1938). In 1938 and 1939, Hurston worked for the Federal Writer's Project (FWP), part of the Works Progress Administration.
He inspired the character of Tea Cake in Their Eyes Were Watching God. In 1939, while Hurston was working for the WPA in Florida, she married Albert Price.
She drew from this research for her anthropological work, Tell My Horse (1938). In 1938 and 1939, Hurston worked for the Federal Writer's Project (FWP), part of the Works Progress Administration.
Tell My Horse (1938) documents her account of her fieldwork studying spiritual and cultural rituals in Jamaica and vodoun in Haiti. ===1940s and 1950s=== In the 1940s, Hurston's work was published in such periodicals as The American Mercury and The Saturday Evening Post.
Critics have since praised her skillful use of idiomatic speech. During the 1930s and 1940s, when her work was published, the pre-eminent African-American author was Richard Wright, a former communist.
Although her personal quotes show disbelief of religion, Hurston did not negate spiritual matters as evidenced from her 1942 autobiography Dust Tracks on a Road: In 1952, Hurston supported the presidential campaign of Senator Robert A.
The marriage ended after few months, but they did not divorce until 1943.
In The Crisis magazine in 1943, Harold Preece criticized Hurston for her perpetuation of "Negro primitivism" in order to advance her own literary career.
Hired for her experience as a writer and folklorist, she gathered information to add to Florida's historical and cultural collection. From October 1947 to February 1948, Hurston lived in Honduras, in the north coastal town of Puerto Cortés.
Hired for her experience as a writer and folklorist, she gathered information to add to Florida's historical and cultural collection. From October 1947 to February 1948, Hurston lived in Honduras, in the north coastal town of Puerto Cortés.
Her last published novel, Seraph on the Suwanee, notable principally for its focus on white characters, was published in 1948.
Tell My Horse (1938) documents her account of her fieldwork studying spiritual and cultural rituals in Jamaica and vodoun in Haiti. ===1940s and 1950s=== In the 1940s, Hurston's work was published in such periodicals as The American Mercury and The Saturday Evening Post.
That marriage, too, lasted less than a year. Hurston twice lived in a cottage in Eau Gallie, Florida: in 1929 and again in 1951. ===Patron support=== When foundation grants ended during the Great Depression, Hurston and her friend Langston Hughes both relied on the patronage of philanthropist Charlotte Osgood Mason, a white literary patron.
In 1951, for example, Hurston argued that New Deal economic support had created a harmful dependency by African Americans on the government and that this dependency ceded too much power to politicians. Despite increasing difficulties, Hurston maintained her independence and a determined optimism.
In the fall of 1952, she was contacted by Sam Nunn, editor of the Pittsburgh Courier, to go to Florida to cover the murder trial of Ruby McCollum.
Jackson (2000) argues that Hurston's meditation on abjection, waste, and the construction of class and gender identities among poor whites reflects the eugenics discourses of the 1920s. In 1952, Hurston was assigned by the Pittsburgh Courier to cover the small-town murder trial of Ruby McCollum, the prosperous black wife of the local bolita racketeer, who had killed a racist white doctor.
Although her personal quotes show disbelief of religion, Hurston did not negate spiritual matters as evidenced from her 1942 autobiography Dust Tracks on a Road: In 1952, Hurston supported the presidential campaign of Senator Robert A.
Hurston had a special assignment to write a serialized account, The Life Story of Ruby McCollum, over three months in 1953 in the newspaper.
Board of Education case of 1954.
She voiced this opposition in a letter, "Court Order Can't Make the Races Mix", that was published in the Orlando Sentinel in August 1955.
She would not "bow low before the white man," and claimed "adequate Negro schools" already existed in 1955.
In 1956 Hurston received the Bethune-Cookman College Award for Education and Human Relations in recognition of her achievements.
Hurston firmly believed that Ruby McCollum's testimony sounded the death toll of 'paramour rights' in the Segregationist South." Among other positions, Hurston later worked at the Pan American World Airways Technical Library at Patrick Air Force Base in 1957.
She wrote in a 1957 letter: But ...
Zora Neale Hurston (January 7, 1891 – January 28, 1960) was an American author, anthropologist, and filmmaker.
She died of [heart disease] on January 28, 1960, and was buried at the Garden of Heavenly Rest in Fort Pierce, Florida.
The nucleus of this collection was given to the University of Florida libraries in 1961 by Mrs.
Other materials were donated in 1970 and 1971 by Frances Grover, daughter of E.
Other materials were donated in 1970 and 1971 by Frances Grover, daughter of E.
Hurston also opposed preferential treatment for African-Americans, saying: ==Criticism== ===Thoughts on integration=== Darwin Turner, an English professor, and specialist in African-American literature faulted Hurston in 1971 for opposing integration and for opposing programs to guarantee blacks the right to work.
Her remains were in an unmarked grave until 1973.
The city celebrates Hurston annually through various events such as Hattitudes, birthday parties, and the several-day event at the end of April known as Zora! Festival. Author Alice Walker sought to identify Hurston's unmarked grave in 1973.
Interest was revived in 1975 after author Alice Walker published an article, "In Search of Zora Neale Hurston", in the March issue of Ms.
She installed a grave marker inscribed with "A Genius of the South." Alice Walker published "In Search of Zora Neale Hurston" in the March 1975 issue of Ms.
(March 1975), pp. 74–79, 84–89. ==Further reading== Lucy Anne Hurston (her niece), Speak So You Can Speak Again. Moylan VL.
Urbana, Ill: University of Illinois Press, 1977.
In 1979, Stetson Kennedy of Jacksonville, who knew Hurston through his work with the Federal Writers Project, added additional papers (Zora Neale Hurston Papers, University of Florida Smathers Libraries, August 2008). ==Literary career== ===1920s=== When Hurston arrived in New York City in 1925, the Harlem Renaissance was at its zenith, and she soon became one of the writers at its center.
The play was first staged in 1991. Hurston adapted her anthropological work for the performing arts.
magazine, reviving interest in Hurston's work. In 1991, Mule Bone: A Comedy of Negro Life, a 1930 play by Langston Hughes and Hurston, was first staged; it was staged in New York City by the Lincoln Center Theater. In 1994, Hurston was inducted into the National Women's Hall of Fame. In 2002, scholar Molefi Kete Asante listed Zora Neale Hurston on his list of 100 Greatest African Americans. Barnard College dedicated its 2003 Virginia C.
magazine, reviving interest in Hurston's work. In 1991, Mule Bone: A Comedy of Negro Life, a 1930 play by Langston Hughes and Hurston, was first staged; it was staged in New York City by the Lincoln Center Theater. In 1994, Hurston was inducted into the National Women's Hall of Fame. In 2002, scholar Molefi Kete Asante listed Zora Neale Hurston on his list of 100 Greatest African Americans. Barnard College dedicated its 2003 Virginia C.
Minneapolis: University of Minnesota Press, 1994.
and Sieglinde Lemke; 1995) Novels & Stories: Jonah's Gourd Vine, Their Eyes Were Watching God, Moses, Man of the Mountain, Seraph on the Suwanee, Selected Stories (Cheryl A.
Wall, ed.; Library of America, 1995) Folklore, Memoirs, & Other Writings: Mules and Men, Tell My Horse, Dust Tracks on a Road, Selected Articles (Cheryl A.
Wall, ed.; Library of America, 1995) Every Tongue Got to Confess: Negro Folk-tales from the Gulf States (2001) Zora Neale Hurston: A Life in Letters, collected and edited by Carla Kaplan (2003) Collected Plays (2008) The Story of the Last "Black Cargo" (2018) Hitting a Straight Lick with a Crooked Stick: Stories from the Harlem Renaissance (2020) ==Film, television, and radio== In 1935 and 1936, Zora Neale Hurston shot documentary footage as part of her fieldwork in Florida and Haiti.
"Zora Neale Hurston," American Enterprise 6 (September/October 1995), pp. 61–3. Beito, David T.
She Was Born In Notasulga, Alabama but Eatonville Fla., Claims Her As Its Own"; article documents Kristy Andersen's research into Hurston's birthplace; Atlanta Journal and Constitution, January 22, 1995. Visweswaran, Kamala.
New York: Random House, 2003. Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and Katherine Dunham", Theatre Journal 55 (2003), pp. 433–50. Menefee, Samuel Pyeatt, "Zora Neale Hurston (1891–1960)." In Hilda Ellis Davidson and Carmen Blacker (eds.), Women and Tradition: A Neglected Group of Folklorists, Durham, NC: Carolina Academic Press, 2000, pp. 157–72. Trefler, Annette.
Hurston's manuscript Every Tongue Got to Confess, a collection of folktales gathered in the 1920s, was published posthumously in 2001 after being discovered in the Smithsonian archives.
Hurston's Negro Folk-tales from the Gulf States was published posthumously in 2001 as Every Tongue Got to Confess. In 1928, Hurston returned to Alabama with additional resources; she conducted more interviews with Lewis, took photographs of him and others in the community, and recorded the only known film footage of him – an African who had been trafficked to the United States through the slave trade.
magazine, reviving interest in Hurston's work. In 1991, Mule Bone: A Comedy of Negro Life, a 1930 play by Langston Hughes and Hurston, was first staged; it was staged in New York City by the Lincoln Center Theater. In 1994, Hurston was inducted into the National Women's Hall of Fame. In 2002, scholar Molefi Kete Asante listed Zora Neale Hurston on his list of 100 Greatest African Americans. Barnard College dedicated its 2003 Virginia C.
magazine, reviving interest in Hurston's work. In 1991, Mule Bone: A Comedy of Negro Life, a 1930 play by Langston Hughes and Hurston, was first staged; it was staged in New York City by the Lincoln Center Theater. In 1994, Hurston was inducted into the National Women's Hall of Fame. In 2002, scholar Molefi Kete Asante listed Zora Neale Hurston on his list of 100 Greatest African Americans. Barnard College dedicated its 2003 Virginia C.
Norton & Co., 2003, pp. 1506–07. Beito, David T.
New York: Random House, 2003. Kraut, Anthea, "Between Primitivism and Diaspora: The Dance Performances of Josephine Baker, Zora Neale Hurston, and Katherine Dunham", Theatre Journal 55 (2003), pp. 433–50. Menefee, Samuel Pyeatt, "Zora Neale Hurston (1891–1960)." In Hilda Ellis Davidson and Carmen Blacker (eds.), Women and Tradition: A Neglected Group of Folklorists, Durham, NC: Carolina Academic Press, 2000, pp. 157–72. Trefler, Annette.
It is home to the Zora Neale Hurston Museum of Fine Arts, and a library named for her opened in January 2004. The Zora Neale Hurston House in Fort Pierce has been designated as a National Historic Landmark.
Public Broadcasting Service, 2005.
Martin's, 2006, pp. 1562–63. Anderson, Christa S.
New York: Houghton Mifflin Co., 2006, pp. 1577–78. Jones, Sharon L.
Praeger Publishers, 2007.
In 1979, Stetson Kennedy of Jacksonville, who knew Hurston through his work with the Federal Writers Project, added additional papers (Zora Neale Hurston Papers, University of Florida Smathers Libraries, August 2008). ==Literary career== ===1920s=== When Hurston arrived in New York City in 1925, the Harlem Renaissance was at its zenith, and she soon became one of the writers at its center.
The film starred Halle Berry as Janie Starks. On April 9, 2008, PBS broadcast a 90-minute documentary, Zora Neale Hurston: Jump at the Sun, written and produced by filmmaker Kristy Andersen, as part of the American Masters series. In 2009, Hurston was featured in a 90-minute documentary about the WPA Writers' Project titled Soul of a People: Writing America's Story, which premiered on the Smithsonian Channel.
Independent Review 12 (Spring 2008). Boyd, Valerie (2003).
The film starred Halle Berry as Janie Starks. On April 9, 2008, PBS broadcast a 90-minute documentary, Zora Neale Hurston: Jump at the Sun, written and produced by filmmaker Kristy Andersen, as part of the American Masters series. In 2009, Hurston was featured in a 90-minute documentary about the WPA Writers' Project titled Soul of a People: Writing America's Story, which premiered on the Smithsonian Channel.
Lutz, FL: Gadfly Publishing, 2009. Estate of Zora Neale Hurston.
A Critical Companion to Zora Neale Hurston: A Literary Reference to Her Life and Work (New York: Facts on File, 2009). Kaplan, Carla (ed.).
Rollins College, 11 July 2011.
University Press of Florida; 2011.
Zora Neale Hurston Trust, 2015.
The Association to Preserve the Eatonville Community, 2017.
10 April 2017. Abcarian, Richard, and Marvin Klotz.
9 April 2017. Baym, Nina (ed.), "Zora Neale Hurston." In The Norton Anthology of American Literature, 6th edition, Vol.
11 April 2017. Flynn, Elisabeth, Caitlin Deasy, and Rachel Ruah.
11 April 2017. Harrison, Beth.
Her nonfiction book The Story of the Last "Black Cargo", about the life of Cudjoe Lewis (Kossola), was published posthumously in 2018. ==Biography== ===Early life and education=== Hurston was the fifth of eight children of John Hurston and Lucy Ann Hurston (née Potts).
Hurston's manuscript Barracoon was eventually published posthumously on May 8, 2018.
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